C h a i r : L i s a H u a n gC o - c h a i r : M a r t i n G u n d e r s e n

T h e s i s : T e x t i l e B o r d e r

Gottfried Semper calls textile foundational to the other activities of making. This is the catalyst for this research. It is an investigation of making and place-making using textile as a foundation.

The project begins with the act of spinning wool. By learning to spin and practicing the craft of spinning, we can develop an understanding not only of the different methods of joining fibers together in the making of textiles, but also the underlying mechanics of the spun piece of yarn. This is understanding making at its most fundamental type according to Semper.

In order to tie making to place, I use the language of diagramming and drawing to pull an architectural language from the act of spinning. This in turn can be applied to a place, namely the border between the US and Mexico, specifically the portion that is not marked by a geographic feature. It is in these sections of the border between the Pacific Ocean, the Colorado River and the Rio Grande that in the late 19th Century, a series of obelisks were placed to mark the border. The rhythm of the border monuments is strikingly similar to the rhythm of spinning and the friction that holds the fibers of wool together is distinctly analogous to the unique gravity that draws the constructed conditions that give a border its space. This means of making within the context of this place are intended to act as a catalyst for architectural creation.

This drawing shows the location of each border monument through California, Arizona and New Mexico. Note the break between California and Arizona where the Colorado River becomes the border for 24 miles.

The final portion of this project focuses on the 24-mile stretch of the Colorado River where it becomes the border. This site is unique as a part of the border and on its own. In the early 19th Century, a compact was made between Mexico and all the states which the river passes through dictating how much water each state can take, leaving Mexico with whatever was left. Unfortunately the agreement was made during a surplus season and as a result, the river has since been tapped dry. At the border the last of the river is diverged into canals for California, Arizona and Mexico. What was the mighty Colorado became a dry ghost of a basin. The surrounding land on both sides has all become farmland, growing mostly feed crops. The border no longer corresponds to the river; it has become its own line. Even the dry bed of the river shifted long ago. All these dynamic elements give the space a textile quality.

Here I propose a series of pavilions that take up where the monuments leave off. Each pavilion is a culmination of the process of drawing and making that precedes it. They also respond to a name given them, taken from different methods of border control:

Tire Dragging

Air Patrol

The Fence

Search Dogs

Seismic Sensors

Sky Box

The process of naming allows for a conceptual framework to formalize and organize the language of drawing that has developed. There are certain things unique to each pavilion – mostly found through the naming – and there are certain things that tie one to another. While one is not visible from another, there is an implied direction in each that points from one to the other. There is always a source of shade, whether it is built from the ground or a gossamer roof that floats overhead. Each has a source of fresh water and a place for rest, to sit and collect.

Each pavilion also has a space for an artist to potentially react to the site. It is a clear part of the ground that has been depressed slightly. Here different artists can be invited to respond with installation or sculptural art-making.

Tire Dragging

Search Planes

The Fence

Initial study models and drawings explore the carving of surface and space.

C r i t i c s : To d W i l l i a m s , FA I A N a n c y C l a r k

L i b r a r y f o r M i n d & M a t t e r

This project is a response to a simply programmed library and collection space. The program is centered around a collection of objects, carved walking sticks.

The walking stick presents a carved narrative of its owner and user. It behaves as an interface between the traveller and the travelled topography. Two themes drawn from these objects generate the space of this building: carving and topography.

Carving affects the shape of the building and the condition of its edges. The walking stick is carved to fit the hand of its owner. Likewise the edges of the building are pushed and pulled to shelter and be occupied. The space is carved to facilitate experience in texture, color and light.

The notion of topography comes out in the section. As one moves through the space, inside and out, they are engaged by slightly shifting planes thereby elevating and framing views and defining spaces.

1. main collection space2. book collection/reading area3. map library4. garden5. parking/service

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Sketching investigations of different methodologies of joint-making

C r i t i c s : To d W i l l i a m s , FA I A N a n c y C l a r k

A r m a t u r e : W e l d i n g To r c h

The oxyacetylene welding torch is used to attach plates of steel by heating a filler material to a molten state that binds the pieces together. This process creates a seam between the two plates much like a stitch of thread holding two sheets of cloth. The torch is a means of sewing – the weld is the stitch and steel is textile.

With this project, the objective was to create an armature for a chosen object, in this case, a welding torch. The armature was stitched together from plates of steel to playfully mimic the act of welding. The finished object was suspended from the wall like a woven tapestry. This duality exhibits the similarities of welding and weaving as well as their qualitative differences: rigid and pliable, hard and soft. It opens a dialogue between the object and that which holds it.

In Collaboration with: Steven Will iams & Mary CarverC r i t i c : M a r t i n G o l d

P l u m b C r e e k M a s t e r P l a n

This project is located on a large plot of land east of Gainesville, FL owned by the Plumb Creek Corporation. The premise of the project was to create a master plan for a community of roughly 5,000 people. The site covers approximately 16,000 acres, but the goal was to cover only a small percentage and leave the rest under preservation. The master plan was developed with two other students. Following this, we worked individually on a specific program within the greater context. Our master plan was organized by a series of corridors that divided the space by different programs, means of transportation and the ecology of the site.

The latter part of the project focused on an artist residency within the heart of the plan. An artist residency is usually located in a relatively remote place where artists can go to retreat, reflect and make new work. As an alternative, this space intends to promote a collaborative spirit in art making that engages the public. The plan of the building further reflects this notion by splitting the building into its programmatic components and stitching it back together with public space.

Mapping diagram of Plumb Creak Land in relation to Gainesville, FL as well as some speculations towards siting the master plan.

Level 2 Level 3

1. Gallery2. Porch3. Studio4. Residence #15. Residence #26. Residence #37. Residence #48. Workshop

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Level 4 Roof Plan

1. Library2. Workshop3. Residence #54. Residence #65. Studio

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S e l e c t e d P h y s i c a l M o d e l s